Coming in on B camera with a new crew. What are the do’s and dont’s?
I do a lot of B camera work, and my first instinct on a new set is to listen and observe what is happening around me. I want to have a discussion with the A camera operator about framing (headroom, overs, placement of actors in frame, the size of closeups, and anything unusual to be aware of), and how I can best compliment his/her work. I want to defer to the crew that is already there, and not try and impose my ideas on them – presumably they’ve been doing just fine without me to that point, and I don’t want to rock the boat. I also like to get a good sense of the DP – most that I work with are involved in lining up shots – is that what I should expect, or do they want me searching for my own shots (I do this anyway, but don’t usually lead with it unless asked)? Having a sense of what they expect will help me deliver what they’re looking for.
As someone who’s done this a lot, the best piece of advice I can give is to quietly blend in as quickly as possible. I’m not there to draw attention to myself or my work, I’m there for a day (or more) to fit in and compliment the look of the show and what the A camera is doing. The best way to do this is to pay attention to the set, listen to everything, and ask questions of the A camera operator, the DP, and your team (dolly grip and 1st AC) when in doubt.
You’re not there to hit a home run, you’re there to keep the game going. Make as little noise as possible, dont disrupt the apple cart, do the work. Ideally what will impress them is that it was as if nothing changed at all (in the case of coming in for someone). People don’t want problems, they want things to work the way they are used to. Your job is continuation of the quality and work that they are used to.
Blend in. Be quiet. Listen. Do the work.
Don’t try to be the hero and show off to impress. Do try and blend with other crew. Be deferential to those on full-time. Be respectful of your place while quietly listening to the cues. Cues for the vibe of the set. Cues for how to accomplish your shot. Cues for how the Director and DP work. Cues for how the Operators talk or do NOT talk to the actors. Cues for who the set-dresser is to help you move set pieces if needed to make your shot better. And then make the best shot you can under those circumstances and hope to be asked back.
